Facing the Past as Well as the Future: Music and Sound in Hitchcock’s Early British Sound Films - Research portal of Justus Liebig University Giessen:

Contribution in an anthology

Facing the Past as Well as the Future: Music and Sound in Hitchcock’s Early British Sound Films

Authors list: Bullerjahn, C

Appeared in: Reassessing the Hitchcock Touch : Industry, Collaboration, and Filmmaking

Editor list: Schwanebeck, W

Publication year: 2017

Pages: 21-40

ISBN: 978-3-319-60007-9

eISBN: 978-3-319-60008-6

DOI Link: https://doi.org/10.1007/978-3-319-60008-6_2

Edition: 1

Abstract:

With Blackmail (1929), Alfred Hitchcock ended his silent-film period and simultaneously opened up the field of sound film in Great Britain. Yet as far as the use of music and sound are concerned, the two versions of Blackmail (the silent one and the sound version) are similar, though not identical. It is Hitchcock’s specific sound aesthetics which paves the way for British film as well as for his own development as a filmmaker. A comparison between Blackmail and the first American sound film, The Jazz Singer (1927), reveals the ways in which Hitchcock continues to apply silent-film conventions whilst at the same time going beyond them.

Authors/Editors

- Uni.-Prof. Dr. Claudia Brigitta Sabine Bullerjahn, Diplommusikpädagogin

Citation Styles

Harvard Citation style: Bullerjahn, C. (2017) Facing the Past as Well as the Future: Music and Sound in Hitchcock’s Early British Sound Films, in Schwanebeck, W. (ed.) Reassessing the Hitchcock Touch : Industry, Collaboration, and Filmmaking. 1. Basingstoke: Palgrave Macmillan, pp. 21-40. https://doi.org/10.1007/978-3-319-60008-6_2

APA Citation style: Bullerjahn, C. (2017). Facing the Past as Well as the Future: Music and Sound in Hitchcock’s Early British Sound Films. In Schwanebeck, W. (Ed.), Reassessing the Hitchcock Touch : Industry, Collaboration, and Filmmaking (1, pp. 21-40). Palgrave Macmillan. https://doi.org/10.1007/978-3-319-60008-6_2